“Let’s Kill Hitler”
August 27th, 2011
When Steven Moffat threw that title at the end of “A Good Man Goes to War,” I was imagining something…different.
In my mind, it sounded like a right rollicking caper, a piece of historical science fiction and a transition piece from the tight serialization of the first half of the series into something a bit less serialized in the second half.
Technically, “Let’s Kill Hitler” does serve that latter function, but only after an hour that locks Hitler in a cupboard and moves on with the rest of its business without much concern over the historical setting. While the episode has some interesting ideas, it’s one of those episodes that is so preoccupied with ongoing storylines that it never manages to feel satisfying as a piece of fiction. Its broad strokes are meaningful, and ultimately successful, but the episode itself felt like a delivery system more than a story in and of itself.
“A Good Man Goes to War”
June 11th, 2011
My choice not to review “The Rebel Flesh” and “The Almost People” is partly due to the awkwardness created by BBC America making the idiotic decision to take a one-week hiatus over Memorial Day Weekend, but I’ve also got to be honest: I didn’t think they were very good.
I saw a Twitter conversation go by, I think involving Jeremy Mongeau, and it really captured what I think the problem was. He made the argument, if memory serves me correctly, that serialization has actually damaged the show through the first half of the sixth series: everything has been so caught up in laying groundwork for future events or setting up the seasonal arc that it doesn’t really have time to breathe (or, if you’re “The Curse of the Black Spot,” was kind of just too dull to stand out).
Even if we argue that the serial elements have remained intriguing (which I would), and even if “The Doctor’s Wife” was a really compelling standalone that spoke to overarching themes in a strong fashion (which it was), “The Rebel Flesh” and “The Almost People” were like a narrative fetchquest. The Doctor needed to learn more about the flesh, and therefore traveled to where it first originated in order to better understand it, and a story had to be created around that particular event. It just seemed like Matthew Graham’s script never quite managed to make the characters compelling enough, implying a sense of depth instead of actually showing it to us.
Did the two-parter lay some important groundwork for explaining the Doctor’s “death” back in the premiere? Absolutely. And did it quite effectively transition into the reveal that Amy has been flesh since the beginning of the season? Yes. But it becomes a two-hour exhibit in exposition when “A Good Man Goes to War” begins, a too-long detour in a season that seemed to lose its momentum. Mind you, Steven Moffat regains that momentum in about three minutes and forty seconds, give or take a minute or two, and “A Good Man Goes to War” is a stellar effort that benefits from having some truly substantial exposition to relay.
It also tells a compelling story to go along with it, one that we can be certain will resonate both in the fall and beyond.
“Day of the Moon”
April 30th, 2011
[Note: while this does not air until a bit later this evening in the U.S., I’m embracing my independence from any one particular country to post my review when it’s finished so that those who watched in the U.K. can discuss it in a more timely fashion. Accordingly, if you want to avoid spoilers, don’t keep reading.]
It’s the time of year when writing about television on the side must take a back seat to writing about television in an academic (and, over at the A.V. Club, “professional”) fashion, and so it’s unfortunate that a weekend filled with paper writing had to collide with “Day of the Moon.”
In truth, I could probably handle writing about an episode like next week’s, where the show returns to its isolated adventures with only subtle nods towards a larger serialized storyline. I could evaluate the appeal of the situation (which next week features Downton Abbey’s own Hugh Bonneville, I believe), consider the ongoing character dynamics between the Doctor and his companions, and then be merrily on my way.
With “Day on the Moon,” I could actually be here for a day. It’s a compelling episode, filled with enough good ideas to carry three episodes of a lesser show, but it also ends up with enough loose ends that actually going through and analyzing them in a satisfactory fashion would be impossible given my current time crunch.
But, I do want to make a few points about the episode, given that I am sure there will be oodles of speculation to be done over the course of the season regarding what we saw here and given the fact that I very much enjoyed it.
“The Impossible Astronaut”
April 23rd, 2011
“Human beings – I thought I’d never get done saving you.”
As Doctor Who enters its sixth “series” (which I refer to as season above to avoid confusion with similarly titled posts on the blog), I find myself an an interesting crossroads.
As a viewer, “The Eleventh Hour” was my first experience with the start of a series (if not my first experience, as I watched the relevant Moffat-oeuvre episodes beforehand), and that episode served a very clear introductory function for Matt Smith’s tenure as the Doctor. It was also a contained episode, extending beyond the traditional running time to complete a single story alongside the introductions of both a new Doctor and a new companion.
By comparison, “The Impossible Astronaut” finds Matt Smith’s Doctor well-established, and despite the “official” addition of a second companion there is not much groundwork to be laid with either Amy or Rory given their importance to the previous series. It is also the first part of a two-part premiere, meaning that its full meaning has not yet been fully understood, and its role in shaping the remainder of the series remains fairly abstract.
When I suggest I find myself at a crossroads, it is because “The Impossible Astronaut” is a test of sorts for those of us who are new to the Who, so to speak. With the introductions out of the way, Steven Moffat has wholly embraced the series’ atemporality and put together a premiere which finds poetry in tragedy and tragedy in just about everything, breaking rules that we didn’t know existed and inventing rules that we can’t be sure exist. It renders viewers like me, those of us who only recently jumped on the bandwagon, not unlike the Doctor’s companions, forced to place our trust in Moffat’s vision while the questions pile up and the speculation overflows.
It says a great deal about the success of the fifth series that I barely blinked at “The Impossible Astronaut,” slipping easily into the giddy theorizing that this show can inspire and fully embracing my deep appreciation for something that I only started watching a year ago.
“The Pandorica Opens”
June 19th, 2010
As a newcomer to Doctor Who, one of the challenges I’ve had to face in terms of writing about the series is what to do with its two-part episodes. In particular, there’s a distinct challenge with writing about the first part of those episodes, as Doctor Who tends to quite literally split narratives in half as opposed to telling two connected stories. As a result, the first half tends to be fairly heavy on exposition and setup before the second half brings it all to a resolution: while this means that there is plenty to speculate on about the first episode, it’s tough to offer a critical opinion when so much of the two-parter’s effectiveness depends on how it concludes.
[Note: this seems as good a time as any to link to Scott Tobias and Noel Murray’s fantastic conversation about the challenges of writing about television at The A.V. Club – I’d add “two-parters” to their list of confounding situations for television critics who write about television on a weekly schedule, although they are not particularly common in this day and age.]
I’ve gotten away with it so far this season by either writing about episodes from previous series (catching up with the Weeping Angels and River Song in my review of “The Time of Angels”) or catching up on previous episodes in this series (lumping reviews of “Vampires of Venice” and “Amy’s Choice” in with “The Hungry Earth”), but with “The Pandorica Opens” (the first part of the series finale) I knew that there was no such cheat available, which meant that the episode was either going to lend itself to instant analysis or it wasn’t.
There are times when I write about episodes of television because I feel I have something to say, or because I want to start or continue a conversation, but there are other times when I simply feel as if I need to write about something so as to be able to even come close to being able to wrap my head around it. “The Pandorica Opens” is one such episode, a first-part which wastes no time drawing a clear (and quite ingenious) connection between this story and the ongoing series narrative and in the process leaves me enormously confused in the best possible way.
May 29th, 2010
I didn’t have a whole lot to say about last week’s “The Hungry Earth,” both because I wanted to talk more about the two episodes which preceded it and because it isn’t actually really important. While “The Time of Angels” was also the first part of a two-part story, it seemed like it had a narrative of its own: actions were undertaken, and the tension built during the first hour felt carried over into the second. This time around, meanwhile, there was no transfer of tension, as “Cold Blood” more or less takes the basic facts and situations created in the previous episodes and gives them consequence the first part was lacking.
This isn’t to say that “The Hungry Earth”/”Cold Blood” is entirely dissatisfying – rather, I simply want to note that this is a much less intriguing way to do a two-part episode, a scenario where the first part can be pretty easily summed up in a brief one-minute synopsis and the rest filled in through a few bits of dialogue here and there. However, luckily for the series, this episode packs both an emotional and intellectual wallop, delivering some key clues to the “endgame” of the series while also creating a substantial bit of narrative gymnastic which adds a new layer of complexity to our understanding of Amy Pond. Throw in a compelling glimpse at the Doctor’s love for humanity mirrored by a race with absolute disdain for them, and you’ve got an hour that does a better job at giving some hints at the big picture than it pays off the hour we spent last week.
And considering its position at this late stage in the series, that’s probably okay – the standalone story might have needed some work, but the ramifications of the story on the Doctor, his companion, and the series as a whole are a nice bit of momentum heading into the final act of the series.
“The Vampires of Venice, “Amy’s Choice” & “The Hungry Earth”
May 22nd, 2010
I’ve never watched Doctor Who before, but I think I’m starting discover that the mid-portion of each season is not necessarily conducive to weekly reviews (although it’s probably still conducive for weekly discussion, so sorry for my negligence). I didn’t review “The Vampires of Venice” or “Amy’s Choice” because I was busy on those respective weekends, but I also didn’t review the former because it didn’t feel particularly eventful even when I did get to the episode. This is not to say the episode isn’t worth our time, or that it serves no function, but rather that it will take a paragraph to discuss its function rather than an entire review.
However, there’s more to say about “Amy’s Choice,” and some preliminary thoughts on “The Hungry Earth” (on which judgment can’t really be laid until “Cold Blood” next week), so let’s take a look at these mid-season transition episodes, shall we?